Weaving

Baubles and Candles on a rigid heddle loom

With Christmas fast approaching, I wanted to gift you all with something fun and achievable, as well as having a festive theme.

I came up with some simple baubles and candles that I’m confident is suitable for any level of rigid heddle weaver.

This project is very decorative and better suited to low wash items.

*This post contains affiliate links. For more information, please see my disclosure policy.

For the project, I just wove a sampler to illustrate the patterns, but you can use the designs however you please.

What you will need:

A rigid heddle loom (any size is fine if you just want to weave the sample.

A 7.5 dent heddle

A threading/reed hook

A stick shuttle wider than the width of your weaving

A pick up stick wider than the width of your weaving

A tapestry needle

Yarn options:

For my warp I used a light worsted/dk weight wool in white. I used this same yarn for my plain weave. The same yarn, but in different colours was used for the pattern weft. Please see the video for colours used.

For embellishments, I used small amounts of DMC embroidery floss.

Sampler Specifications:

If you wanted to weave a sampler just like mine, here are the basic measurements.

Number of ends: 64 (32 slots)

Approximate width on loom: 8″

Sett: 7.5

Total warp length: 35″

The baubles and candles use the same overshot weaving technique as my reindeer, snowmen, gift boxes and winter trees.

There is a pattern weft that forms the picture or design, and in between every pattern pick is a plain weave pick (either an up or a down shed).

Weaving Instructions:

The Baubles –

I left a border either side of my designs in order to centre them and make sure that none were inadvertently cut in half! I left 6 threads on each side. This is optional, and you an adjust the border threads to suit.

I’m not including the border threads in the weaving steps, but if you watch the video you won’t have any trouble following along with these instructions.

Remember that you need to weave a plain weave row in between every pattern weft.

Step 1. 6 up, 2 down, *7 up, 2 down, repeat from * (7 up, 2 down for the rest of the way across)

Step 2. *5 up, 4 down, repeat from *

Step 3. 4 up, 6 down, *3 up, 6 down, repeat from *

Step 4. Repeat row 3, with a contrast colour

Step 5. Repeat row 3, with the original colour

Step 6. *5 up, 4 down, repeat from *

Step 7. Repeat row 1

The Candles:

For the candles, I left a border either side of 5 threads instead of 6, to work in better with the required calculations for the design.

Step 1. *4 down, 4 up, repeat from *

Step 2. Repeat row 1, alternating plain weave rows with pattern rows.

All of these details are available in a handy PDF for you to print out. You can download and print that right here:

Baubles-and-Candles Download

And you will want to watch the video and follow along with the instructions. You will find the free and detailed video here:

I hope you enjoy this project! Thank you all for your AMAZING support this year!

I wish you all a very Merry Christmas! 🎄

Until next time…

Happy Weaving!

Weaving Glossary: Essential Terms Every Weaver Should Know

by Kelly 11 Comments

Starting something new can feel overwhelming—especially when it seems like everyone is speaking a different language! Weaving is no exception, with all its unique terms and jargon.

The good news? It won’t take long before these words become second nature. But in the meantime, having a quick reference guide is a lifesaver for those moments when you think, Wait… what does that mean again? That’s exactly why this weaving glossary is here—to help you feel more confident at the loom, one term at a time!

This simple guide is arranged in alphabetical order.

Beat – The action of pressing the weft threads into place. For a rigid heddle loom, this action is performed with the heddle/reed.

Closed shed – No shafts are engaged. In rigid heddle weaving, the heddle would be in neutral. There is no space to weave through. See also “shed”.

Direct warp– Common with rigid heddle looms, a warping peg is used to make your warp by drawing threads through the heddle/reed and looping them around the peg.

Draw in– The amount that your weaving decreases on the loom. It is expected that you will have at least some draw in and we calculate for that in the project planning stage.

Ends per inch (epi)– The number of warp threads you have in an inch.

Heddle– In rigid heddle weaving, the terms “heddle” and “reed” are often used interchangeably. For a rigid heddle loom (RHL) the heddle performs multiple functions. The threading of it allows the manipulation of sheds by placing it in the up or down position. It also spaces the warp threads and is used to beat the weaving.

In floor loom weaving a heddle is a single, detached texsolv cord or metal loop that is positioned on a shaft. It has a hole in the middle, through which the yarn is threaded.

Indirect warp – The warp is made on a warping board or mill and then taken to the loom.

Floating selvedges– An extra warp thread on either side of your weaving that is threaded in a slot and weighted over the back of the loom. Floating selvedges are not necessary for plain weave but are invaluable for other weaving structures where your weft thread may not always wrap around the outer most warp threads.

Open shed – Shafts or heddles are engaged. In rigid heddle weaving, an example would be that the heddle is in the up or down position – there is an opening to weave through. See also “shed”.

Pick– A weft row

Pick up stick – A smooth, flat stick used to pick up weft or warp threads to create patterning by creating additional sheds or lifting additional threads.

Plain weave– A weave structure with a balanced one over, one under interlacement of warp and weft threads.

Reed hook- Used to thread or “sley” the reed. In rigid heddle weaving, it is used to thread the slots during direct warping.

Selvedge– The edges of the woven fabric, or during weaving, the edge threads

Sett- The number of warp threads in an inch. An easy way to think of it is how close together or far apart the warp threads are.

Shed– the space or gap created for the weft shuttle to enter into. In RH weaving, this happens when the heddle is either raised or lowered ie. shed one and shed two.

Shot- Another name for pick or weft row.

Sley- Threading the warp threads through the heddle/reed. In multi shaft weaving, sleying refers to threading the reed. See also “open shed” and “closed shed”.

Tabby- another name for plain weave, but particularly used when the plain weave is used to create structure in the fabric in between pattern rows. A classic example is the weave structure overshot.

Threading hook– Used to thread the holes in the rigid heddle.

Thrums- loom waste, or amount of thread left over from the loom when the project is finished.

Warp faced– the warp threads are dominant in the weaving. This is not a balanced weave. A good example is inkle weaving, where most of what you see in the end weaving is the colour of the warp.

Weft faced– the weft threads are dominant in the weaving. Not a balanced weave. A good example is krokbragd.

Wet finish- The wash process at the end of the weaving that completes the project by allowing yarn to absorb water in order to bloom and settle into place.

This weaving glossary is taken from my super helpful e-booklet, The Weaver’s Toolkit.

I wrote this 22 page toolkit to provide weavers of all levels with a handy reference guide. It is beautifully designed and can be viewed on your screen or printed out.

Included in the guide are:

*Warp and weft calculations sheets

*Project record sheet

*Yarn conversion sheets

*Sett explanations

*Recommended tools

*Measurement conversion sheets

*Size guides for woven pieces

You can find the Weaver’s Toolkit in my design store for a very affordable price.

Until next time…

Happy Weaving!

Tips for weaving overshot

by Kelly 9 Comments

One of the great things about having been a blogger for 12 years (did I actually just admit that?!) is that you occasionally get to look back and see how very far you’ve come.

Over three years ago, when my David Louet floor loom was still somewhat new to me, I wrote this post on overshot. If you read it, you will discover that my initial relationship with overshot was not a very positive one.

This post contains affiliate links. For more information please see my disclosure policy.

Back then, I was a little harder on myself as a learning weaver. By now, I’ve realised that weaving, just like life, is a journey that has a beginning but no end. Back then, I thought that my ultimate goal was to be a “master weaver”.

Honestly, I don’t even really know what that means but it no longer matters to me. I just want to be the best weaver I can be, but even more importantly, to continue to be fulfilled, challenged and rewarded by doing it.

Hang on, am I here to talk about overshot or not? Yes, I am!

The happy ending to the initial overshot sob story is that I can weave overshot now. Quite well, in fact! And I also teach it. And I happen to love it, very, very much. Don’t you love a happy ending?

I don’t think there was any particular moment where I thought to myself “I can weave overshot now!” I didn’t even weave any overshot for quite some time after that initial attempt. But slowly it tempted me back, and we started over. It was just a matter of sticking with it, employing some specific techniques and practice, practice, practice until it feels like an old friend.

My love of overshot has only increased with my more recent discovery of American Coverlets. I loved the look of the coverlets and the history behind them before I realised that so many of them were woven in the wonderfully humble 4 shaft overshot.

I’ve put a lot of research time into coverlets this year and have made it a big weaving goal of mine to weave my first coverlet, which is quite an undertaking, but I relish the thought.

I’ve also spent a lot of time actually weaving overshot this year. I released the very successful Overshot on a Rigid Heddle Loom class not long ago.

I’ve just completed this magnificent piece on my floor loom for my brand new Overshot on a Floor Loom class.

Incidentally, this photo is now one of my most popular posts on Instagram! I guess other people love it as much as I do.

Now that I have quite a lot of experience weaving overshot, I want to share my best overshot tips with you in hope that you too will fall in love with this wonderful weave structure.

Tip 1 – Take the time to sample

I know, I know, sampling takes time and yarn, it’s true. But it teaches you so, so much. It can also be more economical, as you can test your yarns out for suitability before committing to a larger project. Trust me, sampling is so well worth the time!

Tip 2 – Use appropriately sized yarns

To weave overshot you need a warp yarn, a tabby yarn and a pattern weft yarn. Using the same yarn for warp and tabby works perfectly. For the pattern weft, I like to use a yarn that is twice the size of the tabby/warp yarn. I have experimented with using doubled strands of tabby/warp yarn in a contrasting colour, but it just doesn’t look as good. A thicker pattern yarn is the way to go.

As an example, my current favourite yarn combinations for weaving overshot are:

Warp – 8/2 cotton

Tabby – 8/2 cotton

Pattern weft- fingering weight wool

There are certainly other combinations you can use, and once again, I recommend sampling to find what you love.

Tip 3 – Consider the scale of the pattern

What will the size of your item be? A miniature overshot pattern may get lost in a blanket, but may be perfect for a scarf. As a general rule, a good way to estimate the size of one repeat of your pattern just by looking at the draft is to see how many repeats are in one threading repeat. Also consider the thickness of your yarns and the sett you intend to weave.

Just to give you an idea, my current project is woven at 20 ends per inch with 8/2 cotton for warp and tabby and fingering weight wool for the pattern weft. The weaving draft has 50 threads in one threading repeat. My design repeats on the loom are around 2.5″ wide and just under 5″ long, which is a great size for the 30″ x 99″ throw I’m weaving.

Tip 4 – Give your weft picks plenty of room

I throw my picks gently to avoid drag on the selvedges and therefore preventing excessive draw in. I give a generous angle to the weft pick and keep it soft at the edges. I do adjust the picks at the edges before beating when necessary, but mostly I prefer to leave them alone and let them settle into place on their own.

Tip 5 – Floating selvedges are a must!

This is a non negotiable for overshot if you want neat edges and less headaches! You get used to using floating selvedges very quickly, so don’t stress if you have no experience with them.

Tip 6 – Don’t twist weft threads

This is another selvedges tip. I’ve experimented with crossing the two weft yarns at the selvedge to see whether it gives a neater edge, but it doesn’t, at least for me. So, instead of twisting the two wefts at each selvedge when throwing a new pick, I just let them follow one another sequentially and my edges are much neater that way.

Tip 7 – Will the pattern weft bloom?

Besides the thickness of the pattern weft yarn, you will also want to consider what kind of bloom it may have after wet finishing. For example, I know that my fingering weight wool blooms beautifully, whereas a cotton of the same size would not bloom in the same way. I very much like the contrast of the 8/2 cotton background with the plump wool pattern weft.

I’m going to sound like a broken record, but once again, a sample will show you everything you need to know about how your yarn will behave as a finished piece.

Tip 8 – Beware running colours

I’m often surprised by the potential of yarns to leach dye in the wet finish process. I’ve had certain yarns that I’ve used frequently that will leach dye sometimes and not others.

This is a particular problem if your colours and white on red or navy on white – you want to preserve that white and not have it come out of the wash as a pink or light blue!

The best way to avoid this is through vigilance, especially in the first 10-15 minutes of your woven piece making contact with water. If you see dye beginning to run, take it out of the warm wash and rinse in cold water until the water runs clear. Place back in the warm water and maintain your watch on it. Repeat the rinsing process if needed.

Tip 9 – Set up the treadles ergonomically

There are 6 treadles needed for overshot, even though you weave on 4 shafts. The two extra treadles are for the tabby weave. I always set up my pattern treadles in the centre of the loom – two on the left and two on the right. Then I set up a “left” tabby and a “right” tabby treadle. To do this on my 8 shaft loom I leave a gap between the pattern treadles and the tabby treadles so that my feet can “see” and differentiate between a pattern and tabby treadle.

Tip 10 – Advance the warp often

I like to advance little and often. You will find your own preference or “sweet spot” for weaving, but I find that with overshot I advance a lot more frequently at a much smaller amount than I do usually.

Tip 11 – Experiment with the beat

The firmness of beat will depend on a few things. Your chosen yarns, the weave structure, the width of the project and the tension your warp is under are all important considerations. I let the project dictate.

An example of this is that I wove an overshot sampler right before Is started my main project (the throw). It was a narrow warp (around 8″) and a different overshot threading and treadling than I’m using for the project.

I found that the sampler required a light beat, where I was pushing or placing the weft into position.

But for my throw project, I am beating harder and sometimes having to beat twice. Because of the width of the project, I need to be careful that I’m beating evenly, and that is easier to do if I’m beating more firmly.

Tip 12 – To temple or not to temple?

I personally do not use a temple. Some weavers will say they won’t weave without one. I’ve tried using a temple on many of my projects, particularly if I’m getting broken edge warp threads (signs of tension problems and too much draw in). But I will avoid using one wherever I can get away with it, and I don’t use one for weaving overshot.

I find that if I’m careful with weft tension and warping evenly, I do not get excessive draw in. It is something I’m constantly aware of while weaving and remind myself of tip 4 so that my weft picks are not pulling in at the edges.

I hope these tips have been helpful to you! If you are interested in overshot, here are some additional resources for you to check out:

Overshot on a rigid heddle loom class

Overshot on a floor loom class

Talking overshot (free video)

The Handweaver’s Pattern Directory, Ann Dixon

A Handweaver’s Pattern Book, Marguerite Davison

Next Steps in Weaving, Pattie Graver

Miniature Overshot Designs, Bertha Graysons Hayes (as a disclaimer, I do not own this book yet, but have heard very good things about it).

Until next time…

Happy Weaving!

Weaver’s Gift Guide 2020

by Kelly 6 Comments

2020 has been a pretty rough year for most of us. I am so looking forward to celebrating Christmas and enjoying the festive season!

Our family of 6 will be reuniting to celebrate Christmas together after being separated from our son due to COVID lockdown for most of this year. I can’t wait for that!

One thing that 7 months of lockdown prompted me to do was to buy all those weaving books (ahem, OK, they weren’t just weaving books) I had always wanted. I don’t feel the need to tell you how many books have landed on my doorstep this year, but lets just say that I’m a lot more challenged for bookshelf space now than I was at the start of the year!

*This post contains affiliate links. For further information, check out my disclosure policy here.

Books make the most fabulous gifts though, so I’m going to be including a few of my personal favourites in this 2020 Weaver’s Gift Guide.

If you’re looking for fictional books to dive into (heads up, I’m a big classics fan!) you can find a list of suggestions in the Book Lovers section of my Amazon Shop.

If you need further inspiration, why not also check out last year’s Weaver’s Gift Guide?

Without further ado, let us launch into the gift guide! Items are in no particular order 😉

Ashford Sampleit Loom

I have used my Sampleit a LOT this year, in fact it has rarely been without a warp on it’s sweet little frame. I have found it so perfect for not only sampling (which it is absolutely perfectly sized for) but also for weaving smaller projects. Would you believe that my Rainbow Lap Blanket was woven entirely on my 10″ Sampleit?!

Another thing I love about my Sampleit is that it’s so small and light it hangs on some hooks mounted on the wall when it’s not in use. I hang it up whether it has a warp on it or not. Easy and efficient storage!

I use mine without a stand, but stands are available.

A little loom is a great way for a new weaver to dip their toes into the weaving world without making a big financial investment.

The Ashford Sampleit comes in two sizes – a 10″ and a 16″.

2. Lacis Cards

I just started card weaving this year and I must admit I’m pretty hooked! I use my inkle loom to weave bands with cards, but rigid heddle looms and body tensioning can work too. Card weaving is so cool and there are so many variations on patterns that you can weave – I’ve only just scratched the surface and look forward to doing much more. The Lacis cards are really great – they are durable, have a light, shiny coating that allows easy turning of the cards, they are a good size for your hands and the holes are marked with A, B, C and D to help you keep track during threading and turning.

Another great card weaving resource is Candace Crockett’s book Card Weaving. Candace puts her instructions in laymen’s terms so they are really easy to follow. It’s a great book to start out card weaving with. The book + a pack of cards = a wonderful weaving gift!

3. Fringe Twister

Many newer and seasoned weavers would appreciate the gift of a fringe twister. If you have been twisting fringes by hand (or know a weaver who has) a fringe twister is an absolute game changer!

I own the LeClerc fringe twister with 4 clips. The more clips you have, the more fringe you can twist at once. I’ve had my twister for many years now and it is in constant use. It still functions just like new.

4. Rosie’s Flexible Tablet Holder for Loom

A little disclaimer here – I do not own one of these. But as soon as I saw it, I knew I had to include it in this year’s gift guide. Why?

Because I knew it would be the perfect thing for so many of my students! Many students watch my classes on their iPad or tablet and actually follow along with instructions whilst seated at the loom.

This tablet holder can attach directly to your loom or table, and it has a flexible arm so that you can get the positioning of the tablet just right.

It’s also surprisingly affordable for such a task specific tool. I love it!

The Smart Phone Holder is also available.

5. Clover Jumbo Bent Tip Tapestry Needles

Ok, I’m a weirdo, but seriously, these needles have changed my life! At least when it comes to hemstitching. I’ve written about these needles previously, but for a quick re-cap, I love them because:

They have a coating that is just slippery enough. They glide through hand woven fabric like they were born to do it.
The bent tip makes them ergonomically wonderful to use – less stress on your hands and wrists.
They are a great size for holding and using.
They are cheap to buy/
They come in a 2 pack, just in case you lose one, which is unlikely because they are gold.
Did I mention they are gold?! 🤩

6. Weaving Books

It’s hard to know where to start with books, as the weaving world has been SO blessed with an abundance of excellent weaving books. Here are just a few of the books that are in my personal library:

Rigid Heddle Weaving:

The Weaver’s Idea Book, Jane Patrick

Inkle Weaving:

The Weaver’s Inkle Pattern Directory, Anne Dixon

Multi Shaft Weaving:

The Handweaver’s Pattern Directory, Anne Dixon

Card Weaving:

Card Weaving, Candace Crockett

Tapestry:

Tapestry Weaving, Kirsten Glasbrook

The Art of Tapestry Weaving, Rebecca Mezoff

7. Yarn!

Once again, there are just so many choices for weavers when it comes to yarn. But if you’re looking for gifts for weavers, here are a few of my favourites:

Maurice Brassard 8/2 cotton

Maurice Brassard 8/2 cottolin

Maurice Brassard 8/2 tencel

Maurice Brassard 8/2 bamboo

You may have noticed I’m a bit of a Maurice Brassard fan! Their yarns are affordable, reliable and beautiful so I use them a lot.

8. Laptop and iPad Skins

Well, if we’re going to use tech we might as well make it look good, and what better way than to slap some beautiful weaving on it?

My Society6 store has a huge range of printed weaving themed items, from coffee mugs to doormats, tote bags to greeting card, face masks to bath mats. It’s crazy just how many different items are available in my shop there, take a look!

9. Dressmaker’s Shears

My dressmaker’s shears are one of my most valued tools in my weaving studio. That feeling of finishing your weaving and cutting the warp off with beautifully sharp shears is just wonderful. Using dull scissors can be a huge frustration when you are cutting yarn all the time. And if you happen to sew with your hand woven fabric, a good pair of dressmaking shears is an absolute must.

In my opinion it is worth spending a little more on a good pair. I have had my Stag 9.5″ dressmaking shears for around 10 years. Strangely, this brand does not seem to be readily available nowadays, but I’ve read some rave reviews on Kai shears.

I simply have my shears sharpened every 2 – 3 years and they work perfectly. Sharpening only costs around $10AUD, so it’s a cheap way to maintain a sharp edge.

10. Tape Measures

Most days you will see me with a tape measure slung around my neck, and if not, it’s never far away. I have an assortment of tape measures so that I always have quick access. My tape measures are all inch plus metric measurements and I use both at various times.

You can go with the standard, basic tape measure or something cute and novel. I have both!

Basic tape measures.

Cute tape measures

11. Last, but not least, I couldn’t finish the Gift Guide without mentioning my Online Weaving School. Perhaps it’s time to give yourself the gift of weaving through the huge number of classes available. If you want to dive right in, a membership is the perfect option. Or, if you’re dipping your toes in, you may want to purchase single classes. The choice is yours!

Here is what students are saying:

“I love, love, love my gold class membership! I love that I have access to all the wonderful classes any time I want to watch them. Kelly is a fabulous teacher. She explains things in such a straightforward and understandable way, learning is much easier. A great bonus is the weaving community that comes with the gold membership. How wonderful to be able to encourage each other.”

Lori

“For the first time, I am seeing exactly how to do the things I keep reading about or see “snippets” of in other videos. Kelly explains and demonstrates each and every step, making it easy and enjoyable to do my weavings. She’s real, and down to earth. She’s not trying to “impress”, or show off her skills like I have seen in other videos. I truly do recommend Kelly Casanova to any and all who wish to enhance their Textile and Fibre Arts.“

Pamela

You can also gift memberships to others, simply contact me for more information.

Well, I certainly hope this Gift Guide has inspired you and something (or somethings) have caught your eye.

Whatever your are doing during this festive season, I pray that you be blessed with peace and joy and surrounded with love ❤️🎄🙏🏻

Until next time…

Happy Weaving!

How to weave Leno on a rigid heddle loom

by Kelly 14 Comments

Leno is a finger controlled weave that gives a lovely airy and lacey look to your weaving.

You can set up Leno on a plain weave threading, as all of the pick up is done at the front of the heddle with a pick up stick and your fingers.

I love that this is a fancy looking but easy to implement technique. Yes, it’s a little slow, but there ain’t nothin’ wrong with that! It can be worked either on an open or closed shed. Today’s tutorial shows you how to work Leno on an open shed.

*This post contains affiliate links. For more information, please read my disclosure policy.

Leno can be used for any project you want an open weave for, but some suggestions are:

Curtains

As a border on a table runner, coupled with plain weave

A bag (my Farmer’s Market Bag pattern is available in my Etsy shop).

For my Leno sample I’m using my Sampleit loom with a 7.5 dent heddle, a worsted weight wool, a stick shuttle and a pick up stick. I didn’t use the full width of my loom, I just wanted a smaller sample.

Leno and plain weave are great friends and I like to combine them for aesthetics. If you don’t plan on using plain weave bands within your Leno, at least start with a few picks of plain weave to begin with as a base.

*Handy Tips:

You will want to advance your warp forward a little more than usual. This is because we are going to be building up warp twist and then making a shed with the pick up stick to pass the shuttle through. If your last row of weaving is too close to the heddle/reed, it will be difficult to find the space to pass the shuttle through.

2. You will want your shuttle to enter from your dominant side. I’m right handed, so I have woven my last pick of plain weave so that the shuttle is on the right of the warp.

3. Your outer most warp thread on the side you’re starting from (in my case, the right) should be in an up position. That doesn’t necessarily mean that your heddle will be in your up position – you will need to try the up and down heddle positions to see which is suitable for that outside warp thread to be up. I placed my heddle in the down position to ensure my outside thread (a slot thread) was up.

Begin by holding the top warp threads aside so that you can see the down shed threads underneath. Take your pick up stick underneath the first thread in the down shed so that sits on top of the stick.

Now release the next warp thread along, which is a top or “up” thread. It will naturally go underneath the pick up stick, which is just what you want.

You now have 2 threads picked up and you may notice that they twist around each other. Dive the pick up stick back down into the warp, holding those top threads out of the way still. Take the point of the stick underneath the next down shed thread so that it sits on top of the stick.

Release the next top thread along, and as before, it naturally springs underneath the stick. At this point you have 2 warp threads on top of the stick and 2 underneath. Dive the stick back down into the warp and repeat the steps, right to the other side.

As you continue your pick up across the warp you should notice that the warp threads are twisted in pairs both below and above the stick. This is how you know that you’re picking up correctly.

When you’ve completed your row of pick up, slide your pick up stick back towards the heddle and leave in place.

Turn the pick up stick on edge and pass your stick shuttle through the shed.

Be sure to fix up and pay attention to your edges, just like you would for straight plain weave. If you need to know more about techniques for weaving neat edges, please watch this video:

Remove the pick up stick and beat. You will feel resistance as a result of the twists being in place, so be gentle and try to beat straight. Remember, this is an airy fabric, we’re not going for densely woven fabric here!

Change to the next shed. I was in the down shed, so now I change to the up shed. Enter the shuttle from the left and pass through the shed, fixing up your edge to weave neatly as before. You will note that the second row of twists that was above your pick up stick when working your pick up has now transferred underneath your new pick.

Beat the new pick, remembering to be gentle and not too firm with your beat. You now have two rows of Leno.

Now you can choose whether you go back and repeat more rows of Leno, or you can do what I’ve done in this photo – alternated bands of plain weave with bands of Leno. Both are very effective, it just depends on the look you’re going for.

If you would like to see a video version of this tutorial, you will find that here:

I hope you enjoyed this tutorial, and if so, please leave me comment to let me know. Also feel free to ask any questions you may have down below, I’m happy to help.

Until next time…

Happy Weaving

Italian Hemstitch

by Kelly 4 Comments

You all know that I love hemstitching, right?

I have quite a lot of resources available on the topic, including articles and videos, some of which you can find in this post.

In addition to the basic hemstitch we all know and love, there are variations for an even more visually decorative, but still functional hemstitch.

*This post contains affiliate links. For more information, please see my disclosure policy.

The hemstitch doesn’t have to just be a way to secure your warp threads so that the weft doesn’t unravel when you remove your weaving from the loom. It can also be used within the weaving as a feature.

In the member’s only “How to Hemstitch” series, I have a separate class just to highlight and demonstrate how you can use hemstitch as a feature in your woven piece.

That brings me to today’s topic – the Italian Hemstitch. This is a gorgeous, decorative and functional stitch. It secures your warp ends just like an ordinary hemstitch does, but it stands out as a real feature. Embroidery lovers, this one is right up your alley!

Italian hemstitch looks great either as a single row at each end of your weaving or as rows within the weaving. It can be stitched in a variety of sizes, depending on how large you want it to look. It looks wonderful both from the front and from the back.

I love the way Italian hemstitch looks on a plain weave background, using a contrasting yarn so that it stands out and takes centre stage. You could choose to use a weight of yarn that matches the weight of your warp and weft, or something thicker, or something thinner. Experiment and see what your own preferences are!

For this tutorial I’ve used a light worsted wool for warp, weft and hemstitch, just in different colours. I’m going to be working a 2 x 2 Italian hemstitch.

Start by threading up a tapestry needle with the yarn you want to stitch with. Make the length around 5 times the width of your warp (I like to have a little more rather than run the risk of running out part way through).

I have to take a moment to extoll the virtues of this Clover Jumbo Bent Tip Needle. I used a regular tapestry needle for a long time before I purchased a pair of these needles, and wow, what a world of difference it’s made to my hemstitching! The large size, the coating that slips through your weaving just beautifully, and the bent tip all come together to make it a perfect tool to hemstitch with.

Secure the hemstitch yarn in your weaving, bringing the needle through to the front from the back. You can see one way that I work lock stitch in this free video. I work this about 2 – 3 warp threads in from the edge on the right hand side.

Count 2 warp threads in from the edge (above your last woven pick) and take the needle down through the gap to the back of your weaving.

When you pull the yarn through, there will be a loop around those first two warp threads, right at the top of the fell (where you last wove your weft).

Count across 2 warp threads again, but this time count down 2 weft threads. Bring the needle up from the back through that space.

Here is how this step looks once the needle and thread have been pulled through.

Take the needle and yarn back to the right edge. Now bring the needle up from behind, through the exact same hole that your last stitch came out of. This will make a new loop as you pull the needle through once more.

Pull on this loop to tighten it up a little. That gives us 2 horizontal lines – 2 sides of our box shape. Now we need to make the 3rd line as a vertical to close the box shape.

To get the vertical stroke of thread, we take the needle straight up to the left of those first 2 warp threads and pull through.

Now you can see your first block/box shape. Each box at the very edges of your weaving will be open ended on one side, the rest will be closed.

To continue working the boxes, count off the next 2 warp threads, bring the needle up and pull the needle and yarn through.

Take the needle back to the start of the second set of 2 warp threads and underneath.

Bring the tip of the needle (this is where that bent tip makes your life a whole lot easier!) up 2 weft threads down, in line with the 2 warp threads you have counted off.

Pull yarn through and tighten the loop. Take the needle back to the start of the pair of warp threads and down into the previous stitch’s hole.

Now bring the needle back up (thank you again bent tip needle!) through the hole that the working thread is in and pull through.

Finish off the box shape with a vertical thread again, by taking the needle down to the left of the warp threads just worked. Continue on across the warp and before long you will have something that looks like this:

It may seem a little complicated at first, but it’s really only a couple of steps more to complete than the regular hemstitch, and once you’ve “got it” your needle will fly!

If you would like a detailed, step by step video on how to work the Italian hemstitch, you may want to consider signing up for a membership at my Online Weaving School to access this and other great tutorials and classes.

The Italian Hemstitch class is available to all members of the Online Weaving School. It is a bite sized, technique focused class to further your learning in the wonderful world of weaving!

Thanks for stopping in for a visit today, if you have any questions or comments, please leave them below, I always love to hear from you!

Until next time…

Happy Weaving!

Frequent weft colour changes

by Kelly 20 Comments

Changing weft colours frequently in one project usually occurs when you’re weaving stripes, blocks or bands of colour.

Today I’m going to talk about the problems that can spring up and show you three different options you can use when you need to change your weft colours often.

Here are some common questions and confusions surrounding weft changes:

“Should I cut the old colour when introducing a new one? If so, what do I do with the cut tails?”

“Should I not cut the colours, but weave them continuously, swapping shuttles as I go and carrying the colours up the edges?”

You may be wondering about which method is the best?

Well, that all depends on how wide the stripes or each band of colour are going to be. I’ll explain further.

If you are weaving wide bands of colour, it will likely not be practical to carry the yarns up the selvedges as you weave. This will create long floats. Now, floats at the edges can look great as a design feature, but the length does need to be practical. Floats that are too long will get caught or snagged once the woven piece is in use – they will get stretched and end up looking, well, a bit ragged!

Weft floats a design feature in the Candy Store Scarf.

There is no hard and fast rule with what length of float is too long or how wide a stripe should be before deciding on which method is best. But, one example that I use would be, if I’m weaving with light worsted weight yarn and intended to carry the yarn up the side, I wouldn’t make my stripes more than 4 picks wide.

Another example might be that I’m weaving 3 picks of a colour before changing, weaving another 3 picks in a different colour and then going back to the original colour. For this situation, I would choose to keep the yarn colours continuous and carry them up the sides.

Let’s have a look at what the basic method for thicker stripes would be:

Introduce the new colour and leave a tail of a couple of inches on the cut end. Weave that pick and change to the next shed.

Take the cut tail around the edge warp thread and into the new shed, around 3 warp threads deep. Pull down to the back of the warp, making sure that it is nicely arranged at the edge warp thread.

Weave the new pick, and continue to weave until your stripe or band of colour is as thick as you want it to be. Finish the pick on the opposite side to the one you introduced it on.

Cut the yarn, again leaving a tail of a couple of inches. Change to the next shed.

Tuck the tail into the new shed as before.

Bring the new colour in, ensuring the tail is on the opposite side to where you finished the last colour. Continue with the initial steps for each colour change.

Pretty straightforward?

The only thing you need to pay particular attention to here is to alternate the sides that the tails are on to prevent a build up on one side. Leave the excess parts of the tails hanging from the back as you weave (they don’t get in the way) and when your piece is wet finished and dried, cut them close to the fabric, being careful not to cut the fabric itself.

Now let’s go over the two methods you can use when your stripes and thinner or colour changes are more frequent:

In my demonstration I’m using 3 different colours and weaving 2 picks of each colour.

The first technique is to make the colours go around each other at the edges. This ensures that every colour is carried up the edges while it’s not actively in use.

This method does have its drawbacks. I was using 3 weft colours for my stripes and found that, for the picks where all 3 colours were on one side, carrying up the side created bulkiness in the form of a noticeable bump where all the colours meet.

While this method would work well for 2 weft colours, for 3 it is not the method I would naturally choose. I can’t live with those bumps – to me they just stick out like a sore thumb!

So, for my 3 weft colours, this is my preferred method:

Weave the weft colours in the same way but don’t make them go around each other at the edges. Just weave them independently of each other and ignore the colour that you’re not using at the time, let it just sit where it finished off and wait.

When you’re ready to weave a new colour, you can just pick up the colour you want and continue weaving. Obviously, this works best for repetitive colour patterns so that your edge floats look harmonious and continuous.

I find this method gives a very neat and pleasing finish to the edges.

To the left you can see the first method I used of taking the colours around each other. On the right is how the second method looks – much neater, I think!

When you are using a thinner yarn (say an 8/2 or 10/2 cotton) it is much easier to hide what you’re doing at the edges and it won’t be very noticeable in your finished piece. But for thicker yarns, like the light worsted I’ve used here, these techniques are a “must know”.

If you’re interested in exploring these techniques further, I have a detailed video demonstration available in the Weaver’s Knowledge Library. I have put this library of “bite sized” classes together for members of my Online Weaving School. It is a great new space where members can learn new techniques quickly and effectively – and of course, refer back to them over and over. I intend to build up a lot of classes in this library in the coming years.

As an additional resource, you may find this video helpful. It shows how I weave the wefts for log cabin:

Have you tried any of these techniques? Which one do you prefer and why? Let me know in the comments, I love to hear from you!

Until next time…

Happy Weaving!

All about hemstitching

by Kelly 10 Comments

I learned how to hemstitch early on in my weaving journey and use it now in most of my hand woven pieces.

I love that it is so decorative but entirely practical as well – that suits my tastes perfectly!

There are many things to love about the humble hemstitch, it is easy to learn, it looks lovely, it allows your woven piece to sit really flat once off the loom (great for table linens), it is very strong and secure and it can be used as a feature within your weaving, not exclusively at the start and end of your piece.

This post contains affiliate links. Please see my disclosure policy for further details.

So, what is hemstitching?

It is a way to secure your warp ends in order to remove your weaving from the loom. It is worked by hand, with a tapestry needle and while your piece is still on the loom (not absolutely necessary, but boy, does it make life easier!)

When you remove your piece from the loom, the weaving will naturally begin to unravel (at different rates, according to the yarn and the project). You need to either secure those warp ends on the loom or promptly after removing from the loom.

Do I have to leave a fringe if I hemstitch?

Not necessarily. It is most common to leave some sort of a fringe when you have hemstitched your ends. A twisted fringe looks stunning with hemstitch but a medium to short fringe is also lovely.

But if you don’t want a fringe at all, don’t have a sewing machine and want those ends secure you can hemstitch on the loom, then needle weave the warp ends (or fringe) back up and into the work. I have used this approach for some of my tapestry projects and on these mug rugs. It gives a very neat and attractive finish – it takes a while to weave all those ends in with a needle though!

Let’s get down to the nitty gritty and have a look at how hemstitch works.

You begin by choosing the number of warp ends you want in each bunch and how far into your weaving (how many weft picks) you want each stitch to go.

My go to is a 4/1 hemstitch, which means that there are 4 warp threads in each bunch and I stitch in 1 weft thread deep. There are all different number configurations you can do depending on the effect you want, the project and the thickness of yarn you have used.

In this picture I am working a 3/2 hemstitch. I count off 3 warp threads at a time, and bring the needle up 2 weft picks deep.

Here is a breakdown for how to work hemstitch, step by step. Heddle is in neutral. Ideally, you have left a long tail of weft yarn (around 4 x the width of the project) on the right hand side (left side if you are left handed). Thread this yarn in a tapestry needle.

Remember, in this demonstration I’m doing a 3/2 hemstitch.

Take the tapestry needle underneath the first 3 warp threads.

2. Count up 2 weft threads and bring your needle through the space that aligns with the 3 warp threads you counted in.

3. Pull the full length of the yarn through.

4. Take the needle back to the start of the initial 3 warp threads and underneath, coming up on the left hand side of the 3rd thread.

5. Pull the yarn through, making sure that the needle goes under the tail yarn on the left so that a loop is created. Pull the loop firmly to make your first bunch.

6. Take the needle down in between the first bunch and the next group of 3 warp threads and repeat the steps.

You can see a video of this tutorial here-

I mentioned that hemstitch can also be used decoratively within your weaving, not just as a hem securer.

In this image I have worked adjacent rows of hemstitch on bands on plain weave, leaving a gap between the bands. I’ve then woven in some ric rac and ribbon as a feature. This can give a very pretty and unique look to your woven piece. This demonstration is available in a member’s only class – Hemstitching as a Feature.

Do I hemstitch both ends of the piece in the same way?

Yes and no. You are still using the same hemstitching technique, but when you hemstitch the first end you are stitching underneath the weaving and when you stitch the final end, you stitch on top of the weaving.

In my earlier days of weaving, I would take my loom off the stand, turn it around to face the other direction and then replace it on the stand. That way, I had the weaving facing me in the same way that it does at the start of the piece and I didn’t have to change the way I stitched at all.

These days, I have a different technique for hemstitching the other end that means I don’t have to rotate the loom and is just as fast and easy as the beginning of the piece hemstitch.

I’ve made a video to share with you how I do this. You will see that its not difficult and just as effective:

Does hemstitching only work on certain types of weaving?

I have used hemstitching on all different types of weaving, even tapestry. I’ve used it on my rigid heddle loom, table loom, floor loom and tapestry loom. I haven’t used it with my inkle loom but inkle bands don’t unravel in the same way and the warp threads are so close together that hemstitching would be quite difficult!

Does the type of tapestry needle matter?

You can use any ordinary tapestry needle. A larger one is easier to thread and use. I recently bought some of these Clover bent tip jumbo tapestry needles, and they have been a game changer! They are large and smooth plus the bent tip is just perfect for hemstitching. Plus they are gold, so hopefully I’m less likely to lose them!

I think a lot of new weavers and a bit overwhelmed by the thought of hemstitching, I mean, it does look quite intricate and complicated on the piece.

Hopefully, by breaking the steps down and making these videos, I will convince you to have a go at hemstitching. Maybe you will find that you love it just as much as I do!

Oh, and by the way, I’ve talked today about basic hemstitch but there are variations that are even more decorative. A great resource for this is The Weaver’s Idea Book, which has a whole section dedicated to hemstitch and it’s variations and possible applications.

All this information plus an extra page of tips and links to 3 hemstitching videos is now available in one convenient e-booklet. The Hemstitch Basics Guide can be purchased in my Etsy shop.

Be sure to leave any questions or comments below, I love to hear from you!

Until next time…

Happy Weaving!

What is a heddle rod? Part 2- how to install the rod

by Kelly 4 Comments

Last week we talked about how invaluable a heddle rod is to the rigid heddle weaver.

I showed you how to make string heddles for the heddle rod. If you missed that post, please click here.

*This post contains affiliate links. For more information, please see my disclosure policy.

Now that we know how to make our own string heddles, we can learn how we use them on a heddle rod.

The actual rod needs to be wider than the width of the piece you’re weaving. It can be either flat or round. It should be fairly lightweight and not so large that it is difficult to pick up. It should be smooth but not slippery.

For this tutorial I’m using a smooth but not lacquered wooden dowel measuring 9mm (3/8 of an inch) around. The dowel was purchased at a local hardware store.

Begin by picking up the threads you want to place on the heddle rod according to the pattern or instructions you’re using. It is easiest to pick up the threads in front of the heddle first using a pick up stick. Make sure your heddle (or if you’re using more than one, heddles) are in the down position. This brings slot threads up, and it’s the slot threads we want to pick up.

Once your threads are picked up, slide the front stick towards the heddle and place it on it’s edge. This props up the heddle rod threads at the back of the heddle and differentiates them from all the other threads.

Now you can insert another pick up stick (or stick shuttle if you don’t have the extra pick up stick) into the shed that has been created by the propped up threads behind the heddle/s.

You will need your piece of dowel or whatever you’re using for the heddle rod plus your string heddles handy.

You may find it easier to sit or stand behind the loom for this next part. Working from either right to left (it makes no difference) pick up the threads in order from one side to the other. Keep your pick up stick in place as your visual guide – you can clearly see which threads need to be picked up. Have a string heddle ready at this point.

Bring a string heddle underneath the first thread so that it has a loop on either side of the thread. One loop will be smooth, the other will contain the knot. It is very much preferable not to have your knot near the thread. You want to arrange it so that it will sit on top of the heddle rod.

Bring the two loops of the string heddle together at the top. Note how my knot is sitting at the top rather than at the bottom or underneath the warp thread.

Bring in the heddle rod and slip the loops of the string heddle over it.

Now repeat this step with each warp thread that is sitting on your pick up stick, sliding them onto the heddle rod as you go.

Some of you may like to put the rod down on top of the warp as you organise each string heddle, I like to keep the rod in my left hand while managing the string heddles with my right. It’s a bit fiddly, but I do find it faster. You might need a bit of practice under your belt before you use my approach this though.

Once you have all your string heddles on the rod, you will want to secure them as it is all too common for that heddle rod to slip and then you lose all your hard work!

Some weavers like to use some masking or painter’s tape and place it across the top of the heddle rod.

I have a different and perhaps peculiar method, but it sure does work! I place a rubber band on each end of the rod, close to the string heddles.

Then I run a piece of waste yarn right through the middle of the string heddles, pulling each end of the waste yarn through a rubber band on each end. Then I pull the cut ends of the waste yarn up and tie a bow.

Using this method, my string heddles don’t move and are completely secure on the rod. And no annoying, sticky tape.

If you want to see a video tutorial of this process, you can watch here-

I have a number of classes that make use of heddle rods:

Converting Drafts to a rigid heddle loom

Overshot on a rigid heddle loom (coming soon)

Pinwheels on a rigid heddle loom

All of my free Krokbragd videos on Youtube are set up with a heddle rod too-

I hope you enjoyed this two part heddle rod series, don’t forget to catch the first post on making string heddles here if you haven’t already.

Be sure to leave any questions or comments below, I love to hear from you.

Until next time…

Happy Weaving!

What is a heddle rod? Part 1 – how to make string heddles!

by Kelly 3 Comments

Never heard of a heddle rod? If you’re a rigid heddle weaver looking to expand your repertoire of skills by using pick up sticks, a heddle rod is a must learn!

There are lots of lovely patterns you can weave with just one pick up stick, but introducing a second (even 3rd, 4th!) pick up stick opens up so many more pattern possibilities

When you start experimenting with pick up sticks you will discover very quickly that when you are using more than one, the two sticks cannot slide past each other at the back of the warp.

This post contains affiliate links. For further information, please see my disclosure policy.

This leaves the weaver with a conundrum. One of the sticks can be left in place, but the other has to be removed and the threads re-picked up each time you want to weave that pick up stick row. See the picture below for an example.

That can be incredibly tedious, especially when using finer threads or a more complicated pick up pattern.

Luckily for us, there is a relatively quick and easy way to navigate this problem – a heddle rod.

A heddle rod replaces the second pick up stick and sits behind your heddle. The first pick up stick can slide back and forth behind the rod and sit at the back beam when not in use. Hey presto, now you’re weaving a 2 pick up stick pattern with only one stick and a heddle rod!

So, what is a heddle rod exactly?

It can be as simple as a piece of round wooden dowel or a flat, narrow piece of wood. It needs to be wider than the width of the piece you’re weaving and it needs to be smooth but preferably not slippery. The circumference is a personal preference, but not too thick is better – you want it to be light and easy to handle, as you’re going to be lifting it often.

You make string heddles for the rod. These strings, once made, looped around your picked up warp threads, then looped around your rod, will replace the second pick up stick.

One you have your rod installed, you lift the rod each time you want to weave that pattern pick. The string heddles lift up with the rod and in turn, lift up the warp threads they are looped around.

Let’s look at a 2 pick up stick pattern as an example:

Pick up stick 1 sequence – 2 up, 2 down, repeat

Pick up stick 2 sequence – 2 down, 2 up, repeat

Weaving sequence:

Heddle up
Heddle neutral, pick up stick 1 forward, on edge
Heddle up
Heddle in neutral, pick up stick 2 forward, on edge
Repeat

To weave the above sequence with 2 pick up sticks in place would mean that for every 4th pick, you would have to pick up then remove pick up stick 2. Then pick up and remove again the next 4 picks. And that’s no fun!

Here is what your weaving sequence would look like if you left pick up stick 1 in place and installed a heddle rod to replace pick up stick 2:

Weaving Sequence:

Heddle up
Heddle neutral, pick up stick 1 forward, on edge
Heddle up
Heddle in neutral, lift heddle rod
Repeat

Aha! So now our weaving goes much more seamlessly because we are flowing through the weaving sequence instead of having to stop and re-do that second pick up stick all the time.

Now that I’ve sung the praises of the heddle rod highly enough to have convinced you that you really need them in your weaving life, I’m going to show you how to install one.

Today (because this article is already getting long and I don’t want to keep you all day!) I will cover the string heddle component, and next week we will look at the rod and installation component.

To make string heddles, here is what you will need:

A strong yarn suitable for string heddles. I use seine twine (in Australia it’s available here) and find it excellent for two reasons. 1. It is super strong. 2. It doesn’t get fluffy, sticky or static – y (I know, that’s not a word!) all of which will interfere with lifting your warp threads effectively.

2. A pair of scissors. Little scissors are handy for this job, but use what you have.

3. A string heddle template. This comes down to personal preference and how long you want your heddles to be. Too long and they are uncomfortable to lift, too short and they may lift your warp threads when you don’t want them to (for example, when you bring your pick up stick 1 forward) and confuse your shed.

You can use one of your heddle/reeds to measure around as a template, or my preferred method is a hardcover book measures at 10″ around – I like that length for my string heddles.

Something else that is handy but non essential is something to hold the cone of yarn as you wind off yarn to make the string heddles. My warping stand is perfect for this task. If you would like to make a warping stand for a fraction of the price of a store bought one, click here for our free tutorial.

Alright, let’s make some string heddles!

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Take one end of the string heddle yarn and wrap it around your template (remember, I’m using a hardcover book). Bring the ends together at the top of the template.

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Leave a good couple of inches to tie with and cut the end that is feeding from the cone. Be sure not to knot so close to the template that the string heddle is too tight to slide off when you’re done.

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Tie the two cut ends together using an overhand knot, then knot again. With a yarn like seine twine, this makes a really strong knot.

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Once the ends are securely knotted, you can cut the tails a little shorter which will just help to keep things neat and compact on the rod. Don’t cut so close to the knots that you risk them coming undone.

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Slip the completed string heddle off the template.

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There you have it – one completed string heddle! Make as many as you need and keep them somewhere handy for when you need them. The added benefit of using a strong yarn like seine twine is that you will be able to reuse these string heddles for many projects.

The next post will demonstrate how to actually set up the rod and string heddles, but if you can’t wait until then, or if you are more of a visual learner, I’m sure you will find this video most helpful:

If you enjoyed this post, I know you will love my Online Weaving School. With classes for all levels of weaver, there is something for everyone and you can start learning today, in your own time and the comfort of your own home. I hope to see you there!

Questions? I’m all ears! Leave me a comment to continue the discussion or just to let me know that this article was helpful to you 😊

Until next time…

Happy Weaving!